...liedke's music manages to balance an organic sense of shape and development with a firm sense of stylistic intent, and the more-than-meets-the-ear quality of these songs reward repeated listening.

dan bilawsky

...all peculiarly acting young musicians who on occasion sound as if thelonious monk was recording for ECM back in the 70th... well done!

lothar trampert

...zeitenwende is the product of three imaginative and selfless performers. ...it's filled with imaginative music—tunes that hold the attention and reward repeated listening with fresh nuances. liedke is building an impressive body of work, deserving of much wider recognition.

bruce lindsay

...'zeitenwende' is a beautifully accomplished album that will reveal different hues and shades with each listen.

Tokyo Jazz Notes

this second release from germany's sebastian liedke trio is initially so unassuming that it is only on repeated listens that the music unfolds in understated complexity... the contemplative nature of the music is infused with a bristling energy... 'zeitenwende' is quality over quantity — a beautiful and engaging collection...

karl ackermann

...a beautiful, calmly flowing jazz album.

ingo baron

...overall a record filled with mystery, shadows, contrasts, exciting and with tender poesy enchanting and beautiful. one can say, perhaps something like trance-jazz after all.

tom fuchs

...it is an enjoyable and thought-provoking opus that rewards close listening and whets the appetite for more from this highly talented ensemble.

...these three perform together beautifully and create intensely soulful music that makes you imagine morning fog rising over the spree. amazing!

arnd müller

…even so this cd release makes you sit up and take notice with delight, under PIROUET or even ECM conditions produced it could be sensational.´

thomas fitterling

...it's one of the freshest and loveliest releases of 2010... emotive, inventive and lyrical, to walk in the past is an outstanding debut.

bruce lindsay

...to walk in the past experiments without being inaccessible, is enough to warrant commendation, but there is much more. liedke is retaining the jazz tradition while offering a very fresh approach to the form—and an ethereal quality to the music.'

karl ackermann

...this type of group can't be pigeonholed into any one area... this is moving mood music for music lovers.

info

`sebastian liedke trio´ was an acoustic modern jazz trio from berlin:

loving the beauty of simplicity the compositions provide much room for improvisation, letting the sounds develop a particular atmosphere, melancholy, elegiac, so to speak mood music. just like music for a film it grabs the listeners attention while putting him into a cosy yet melancholy scenery.

reviews

...liedke's music manages to balance an organic sense of shape and development with a firm sense of stylistic intent, and the more-than-meets-the-ear quality of these songs reward repeated listening.'

dan bilawsky

`liedke's leader debut—to walk in the past (self produced, 2010) — was a reflection of the present day realities of european jazz piano trio concepts, painted with muted colors that created a pleasant and occasionally cloudy aural aura. the bassist builds on this concept here, but he does so with the help of some new trio mates. pianist dirk flatau and drummer lizzy scharnofske shared liedke's less-is-more mindset on the bassist's earlier outing, but they took a few stylistic detours along the way. liedke's new companions—pianist felix otterbeck and drummer lucia martinez — further the notions expressed by their predecessors, but they do so with a more rounded sound, diverse color scheme, and a greater sense of stylistic continuity.

a good deal of this music is based on two-way chemistry, with a third party tracing around the edges, and solos from liedke and otterbeck are plentiful, but each track is its own genus within the species of liedke-made music. "form folgt funktion (fff)" is marked by trim elegance, "vio" —Otterbeck's ode to his girlfriend— moves from sunny piano positing to a more intense outlook, the title track finds the trio in perfect balance as its three-way communication reaches a peak, and a peaceable, slumbering quality encapsulates the closer ("sehnsucht"). liedke's music manages to balance an organic sense of shape and development with a firm sense of stylistic intent, and the more-than-meets-the-ear quality of these songs reward repeated listening.´ (to the article)

...all peculiarly acting young musicians who on occasion sound as if thelonious monk was recording for ECM back in the 70th... well done!

lothar trampert

(german version see below)

`besides the berlin bassist, one can also enjoy lucia martinez on drums and jazz pianist felix otterbeck resembling satie - all peculiarly acting young musicians who on occasion sound as if thelonious monk was recording for ECM back in the 70th. european, almost free-explosive the unpredictable spanish lucia – now I understand why sometimes drums are called 'shooting gallery'. and sebastian liedke as calming centre line. well done.´

...zeitenwende is the product of three imaginative and selfless performers. ...it's filled with imaginative music—tunes that hold the attention and reward repeated listening with fresh nuances. liedke is building an impressive body of work, deserving of much wider recognition.

bruce lindsay

`there are times when bombast, noise and heavy riffs seem like musical perfection, and other times when beauty, gentleness and melody are exactly what's required. for those other times, zeitenwende is an ideal choice. the second album from bassist sebastian liedke's berlin-based trio builds on the success of 2010's self produced debut, to walk in the past, with another collection of tunes characterized by his considered and affecting compositions and the sympathetic interplay of his fellow musicians.liedke knows about noise and bombast, having formed a death metal band as a teenager, but there is no evidence of such musical antecedents on this album. his move from metal to jazz—and from electric bass to double bass—finds him as a composer and player putting emphasis on the lyrical and melodic elements of his music. on zeitenwende he's joined by two new trio members, drummer lucia martinez and pianist felix otterbeck, who give this music a slightly fuller sound than on the first album.

martinez is constantly inventive, with a more forceful style than the trio's previous drummer, lizzy scharnofske. on "bastian" and the opening section of "form folgt funktion", she adds a touch of bite to the music, giving the tunes a more assertive feel but never overwhelming the lighter flourishes of her trio mates. otterbeck's "vio" matches the gently romantic mood of liedke's own compositions, while the pianist's own playing is at its most affecting. while every composition succeeds in creating its own tranquil but unique atmosphere, "sehnsucht" is the gentlest and most spacious of all the tunes; all three musicians deliver beautifully restrained performances that create a genuine sense of longing.

zeitenwende is the product of three imaginative and selfless performers. it may only be 36 minutes long, but it's filled with imaginative music—tunes that hold the attention and reward repeated listening with fresh nuances. liedke is building an impressive body of work, deserving of much wider recognition.´ (to the article)

...'zeitenwende' is a beautifully accomplished album that will reveal different hues and shades with each listen.

Tokyo Jazz Notes

`whilst a large number of the releases reviewed for this blog are albums that feature songs that are likely to have dancefloor appeal, some are albums that take a more gentle and melodic approach to jazz. the second album from the sebastian liedke trio, zeitenwende, is one such album, with the berlin-based piano trio exploring a wide range of melodic avenues without the need to hammer the most out of their instruments.

bassist sebastian liedke has recruited two new members to his trio since his 2010 debut, with felix otterbeck taking up piano duties and lucia martinez on drums. listening to the album, however, you get the feeling that the musicians have been playing together for some time as they achieve an almost effortless synergy on the half dozen tracks on offer.

the opening bars of "form folgt funktion (fff)" have a dramatic but restrained feel, which instantly command attention, before otterbeck's gentle melodies take over escorting the listener on a dream-like voyage. the tune gradually fades out, flowing effortlessly into "bastian", an uplifting tune with some understated power in which both liedke and otterbeck deliver exquisite solos. "vio" is a romantic tune on which otterbeck's piano really shines. the closing "sehnsucht" is the sparsest and most restrained track on the album, which certainly does create a sense of yearning as the german title suggests.´ (to the article)

this second release from germany's sebastian liedke trio is initially so unassuming that it is only on repeated listens that the music unfolds in understated complexity... the contemplative nature of the music is infused with a bristling energy... 'zeitenwende' is quality over quantity — a beautiful and engaging collection...

karl ackermann

`this second release from germany's sebastian liedke trio is initially so unassuming that it is only on repeated listens that the music unfolds in understated complexity. within the treatments of its six original tunes, the contemplative nature of the music is infused with a bristling energy. roughly translating to a "turning point," zeitenwende is, indeed, that for bassist liedke. parting company with his original drummer and pianist, liedke is now partnered with lucia martinez and felix otterbeck in those respective roles.

the spanish-born martinez is an extremely resourceful and accomplished jazz percussionist despite being only in her twenties. she does much more than supply a beat with her all around ability to utilize a wide array of paraphernalia to create subtle textures. otterbeck brings a classical element to some very intricate improvisations, carrying "vio" and the title track. liedke wisely allows otterbeck to take a number of lengthy solos throughout the set; given that the leader hails from a heavy metal background, both diversity and a collective empathy contribute to the finely tuned group dynamic.

"vergiss mein nicht" represents one of zeitenwende's better examples of this trio's excellent interplay. otterbeck opens with a beautifully relaxed melody countered by martinez, who works her way up from gentle brushing of the cymbals to a minor explosion from various components of her drum kit. around the half way mark, liedke takes a solo that resonates with a deep, charlie haden-like woodiness and melodic sensibility. as the piece builds in drama, otterbeck demonstrates the kind of speed, aptitude and musicality that could easily be mistaken for brad mehldau.

the result of this new formation is a sound that is less minimal than liedke's self-produced, to walk in the past (2010). that should in no way suggest that his debut is a lesser accomplishment, just a bit sparser landscape. here, otterbeck contributes one composition, with liedke penning the remainder. clocking in at under forty minutes, zeitenwende is quality over quantity — a beautiful and engaging collection where anticipation in a future peaked by liedke's original trio is surpassed by the bassist's revised lineup.´ (to the article)

`with his trio the berlin based bassist is declaring himself to clarity and his passion for compositions and their space, all of them by liedke except one. accompanied by felix otterbeck (p) and the spanish drummer lucia martinez, who’s fine rhythmic and atmospheric works also deserves particular mentioning. a beautiful, calmly flowing jazz album.´

...overall a record filled with mystery, shadows, contrasts, exciting and with tender poesy enchanting and beautiful. one can say, perhaps something like trance-jazz after all.

tom fuchs

(german version see below!)

`is there something as trance-jazz? the intro of the berlin based sebastian liedke trio raises this very question during the tranquil flow of the first pieces of this record. but no, at the latest with „hallo frau winter“ the dream turns into reality. with dense groove and intricate lines, tones just flap around the room. dirk flatau’s sparkling piano playing, band leader Liedke’s vibrant bass and lizzy scharnofkes dynamic percussion give the piece a powerful flapping. besides that, pianist flatau with his slow-motion figures in other compositions seems kind of hermetic and often impervious – like one of monet’s dark water lily paintings, mystified and with impressive colors. overall a record filled with mystery, shadows, contrasts, exciting and with tender poesy enchanting and beautiful. one can say, perhaps something like trance-jazz after all.´

...it is an enjoyable and thought-provoking opus that rewards close listening and whets the appetite for more from this highly talented ensemble.

hrayr attarian

`one of the enduring allures of the piano trio is the intimacy it creates, something that german bassist/composer sebastian liedke does superbly on his debut, to walk in the past.

the record consists of 10 modal sonatas with rich texture, painted in dark sounds and lush tones. eight are composed by liedke, and two by pianist dirk flatau, and all share a similar theme that helps maintain the unity of the entire work. this, in no way, is meant to indicate that there is monotony to the disc. In fact, from the nocturne-esque "ella" and the angular title track to the up-tempo "hallo frau winter", the bluesy "ein stück berlin", and the cinematic "tale of a silent karl", there is significant variation to maintain interest.

the pieces are minimalistic in structure, allowing ample room for improvisation, during which the trio makes as much use of silent pauses as it does of the notes. the resulting music is reminiscent but not derivative of the ahmad jamal trio of the 1950s and 1960s, with hints of the modal exploration of bill evans. liedke himself sounds a tad like ron carter, while drummer lizzy scharnofske's use of brushes that hints at the great philly joe jones.

all three musicians have occasional solos, flatau more than the others, but the more interesting flights of fancy occur during the group interplay as, anchored by liedke's melodic bass and driven by the quiet, yet persistent encouragement of scharnofske's drums, flatau weaves tone poems on his keys.

overall, the improvisations, much like the compositions themselves, stay within safe and familiar territory, but are, nevertheless, tastefully innovative. although this release doesn't break new musical ground, it is an enjoyable and thought-provoking opus that rewards close listening and whets the appetite for more from this highly talented ensemble.´ (to the article)

...these three perform together beautifully and create intensely soulful music that makes you imagine morning fog rising over the spree. amazing!

arnd müller

(german version see below!)

`to walk in the past by the berlin sebastian liedke trio is something quite intimate. the band leader on bass is jamming with dirk flatau (piano) and lizzy scharnofske (drums), swinging and grooving at its best. the tranquil instrumentals - most of them by liedke - apply classical jazz and fusion. with the piano as the central element, the double bass is creating tasteful highlights and acts as the interface between melody and rhythm. or: these three perform together beautifully and create intensely soulful music that makes you imagine morning fog rising over the spree. amazing!´

…even so this cd release makes you sit up and take notice with delight, under PIROUET or even ECM conditions produced it could be sensational.´

thomas fitterling

(german version see below!)

`the problem is not so much the promotion of young jazz musicians these days as the cognition of these very talents and provision of opportunities to perform and to place themselves on the market. nothing will happen without a quasi-professional recording anyway. berlin based double bassist sebastian liedke (33) has taken this on board and is therefore spreading his trio’s cd with 49 minutes music via his website. whoever thinks in view of the record’s title of the plenty of neobop-creations generated by jazz schools, will be pleasantly disappointed. just as somebody who believes the matter is a classical bassist-showcase. sebastian Liedke is first and foremost composer: eight out of ten titles are written by him. with pianist dirk flatau he was lucky to find a congenial interpreter of his music, most of it with an air of melancholy. with a strong resemblance to paul bley’s first records released on ECM it does fit into the new inwardness of jazz piano, but has the minimized characteristic style of a marc copland. surprising the leader’s modest manner, who is acting here in a rather relaxed enabling than a dynamically moving way and who rarely appears in a solo capacity. drummer lizzy scharnofske offers the matching motian/elgart-concept...…even so this CD release makes you sit up and take notice with delight, under PIROUET or even ECM conditions produced it could be sensational.´

...it's one of the freshest and loveliest releases of 2010... emotive, inventive and lyrical, to walk in the past is an outstanding debut.

bruce lindsay

`piano, bass and drum trios abound in jazz: their history mirrors the history of the music itself and many of the greatest jazz players have worked within the format. any new piano trio has to face up to some stiff competition if it is to leave its own unique mark. the berlin-based sebastian liedke trio is new. to walk in the past is its debut recording — and it's one of the freshest and loveliest releases of 2010.

bassist liedke, pianist dirk flatau and drummer lizzy scharnofske have created a life-affirming album that serves to establish this trio as a band of tremendous potential. to walk in the past succeeds not simply because of the musical talents of the individual players but also because of their ability to work as an ensemble. while liedke wrote all but two of the tunes, the album is emphatically collaborative, each member of the trio contributing musical ideas, supportive rhythm playing and warm, delicate solos across its ten tunes.

the opening bars of "04:15 — a morning on hamdan street" set the album's mood perfectly. the tune is melodic and laid-back with soft, atmospheric percussion, crystalline piano and a mellow but swinging bass from liedke. this gentleness and melodic sensibility characterize the music, but there is plenty of variation in emotion and tone which ensures that the music never feels repetitive. "fluse im kopf" comes closest to the sound of classic american jazz, with its occasional resemblance to ira gershwin and vernon duke's "i can't get started," but for the most part the trio is more firmly rooted in the melodic european jazz of players such as tord gustavsen, or even the more reflective moments of fellow german trio, [em].

flatau contributes two compositions: "ella" and "leo". both tunes share the lyricism and beauty of liedke's writing: "leo" is centered on liedke's repetitive and hypnotic bass line while "ella" has a classical feel to its melody. liedke's "hallo frau winter" bucks the trend of the rest of the album with its more up-tempo, latin-influenced groove. scharnofske's drumming is more dominant than usual, although her characteristic light touch remains for the most part, while liedke's bass is at its most energetic. "tale of a silent karl" is the album's most mysterious tune, with a disquieting and funereal rhythm over which flatau plays a sparse, staccato piano line and scharnofske adds some loose, metallic percussion.

liedke, flatau and scharnofske have created an exquisitely beautiful album—emotive, inventive and lyrical, to walk in the past is an outstanding debut.´ (to the article)

...to walk in the past experiments without being inaccessible, is enough to warrant commendation, but there is much more. liedke is retaining the jazz tradition while offering a very fresh approach to the form—and an ethereal quality to the music.'

karl ackermann

`it's possible to identify some of the more acoustic elements of the late esbjörn svensson's trio, e.s.t., in berlin-based, sebastian liedke trio's debut. the bassist's group appears ready to step into a creative breach, uniquely combining a strong sense of melody with imaginative variations. within its creative process, the trio may be on its way to setting up a template for subsequent hybrids of euro-jazz. unlike the pioneering e.s.t., liedke's trio is devoid of synthesizer effects and rock influences, but combines lyrical elements with extensive variations of sound and tempo, evoking some idiosyncratic abstractions that make to walk in the past an exceptionally pleasing and interesting experience.

of the disc's ten original tunes, eight were penned by liedke and two by the trio's pianist, dirk flatau. though the pace is rarely faster than mid-tempo, there is a strong improvisational feel throughout the collection. individual pieces unfold as a suite, each flowing seamlessly into the next. on "ella", flatau's playing is fluid and imaginative, full of intricate beauty. drummer lizzy scharnofske contributes a subtly propulsive beat and rhythmic variety, while liedke's finely nuanced playing weaves the piece together. the most up-tempo piece in the collection, "hallo frau winter" is in the bop tradition, though distinctly modern. scharnofske rides the symbols perfectly, and liedke, whose group is quite egalitarian, has his first chance to really show a capacity to improvise over flatau's complex chords.

"flus im kopf" is a bluesy romp that features flatau's appealing down-tempo boogie. scharnofske's strong rhythmic support shifts the tempo up briefly, and liedke's contribution is both nimble and controlled. the title track creates a poignant atmosphere accentuated by a beautiful solo from liedke, whose playing is reminiscent of fellow german, eberhard weber. flatau's influences, in this case, appear more in the classical vein and the overall effect is memorable. "ein stück berlin" closes the set with a slightly quirky feel, full of rests that accentuate flatau's expressive performance and with liedke reaching down for deep resonant notes. the group interplay makes for an organic hum that underscores the piece's main premise, and it is this movable force of attributes that become a kind of secondary theme and centralize the various aspects of the work.

there is an overall european sensitivity throughout the collection, and the influences of bobo stenson and arild andersen can be felt from time to time. classical inspiration and unobtrusive themes counter an inventive spirit and a progressive trajectory. in contrast to the kind of naturally occurring minimalist caution that exists in some of euro-Jazz, liedke and flatau's compositions are both harmonious and multilayered, adding depth to seemingly uncomplicated structures. that to walk in the past experiments without being inaccessible, is enough to warrant commendation, but there is much more. liedke is retaining the jazz tradition while offering a very fresh approach to the form—and an ethereal quality to the music.´ (to the article)

...this type of group can't be pigeonholed into any one area... this is moving mood music for music lovers.

dan bilawsky

`different people often have different thoughts of what a piano trio should be: some view oscar peterson-style groups as the archetype in this category; others, just as easily, point to bill evans and feel that his body of work is the alpha and omega when it comes to piano group interaction and chemistry; while younger, rock-leaning enthusiasts may turn their noses up at both of those legends, preferring the bombast-meets-jazz of the bad plus. no two people will have the same exact conception of the perfect trio vehicle, but it's safe to say that this type of group can't be pigeonholed into any one area.

bassist sebastian liedke's trio, for example, has its own ideas about the piano trio, and his group pares things down to essentials. superfluous notes and unnecessary displays of technique aren't the point here. nine of these ten track create an intimate space where gently moving single note piano lines float over a simple, but wholly absorbing, rhythmic base. liedke has found simpatico colleagues in pianist dirk flatau and drummer lizzy scharnofske. most of this music is covered in shades of gray—like the album cover—and an ECM patina is present on the large majority of these songs. within this general frame of mind, the musicians still manage to evoke different emotions. "ella" has a hauntingly sad introduction and a fragile, yet firm, quality. "leaving berlin" possesses a seductive charm and "the beast In you" is somber and sentimental at the same time.

while the first few album cuts establish a specific direction and sound for the group, "hallo frau winter" is a complete departure. the trio seems to be giving their own view of a mccoy tyner-style burner as the song begins, but the music gives way to a bouncier feel that comes off like a berlin-based view of brazil. "tale of a silent karl" is underscored by an ominous, repetitive bass pattern and the piece gains more weight as scharnofske and flatau dig in. a slight evans influence comes through on "fluse im kopf" and the group even takes on airs of argentina during "leo". liedke's bass line establishes the groove—in nine—and leads the way, allowing flatau to fill in with charming little lines above. this song is nuevo tango-tinged music for the european set. when the trio arrives at their last two stops, they basically settle back into the comfortably moody confines established at the top of the program. while designating something as "mood music" often relegates it to "background music," that's not the case with music from to walk in the past. this is moving mood music for music lovers.´ (to the article)

`double bass player and founder sebastian liedke virtually overwhelms with retentiveness - it must be said though that pianist dirk flatau and drummer lizzy scharnofske could also be masters of transparency.

however, that’s far and away not all they can do as they proof with “hallo frau winter” – unconventionally swinging modern jazz with a bassist, whose lines create a groove of its own. a really impressing trio!´

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